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    Anne Frank: pocket GIANTS
    Anne Frank: pocket GIANTS
    Anne Frank: pocket GIANTS
    Ebook90 pages1 hour

    Anne Frank: pocket GIANTS

    By Zoe Waxman

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    About this ebook

    The Diary of Anne Frank is one of the most famous – and bestselling – books of all time. Yet the girl who wrote it remains an enigma. The real Anne Frank has been lost, hidden behind the phenomenon that her posthumously published Diary produced. This concise biography will rediscover Anne Frank: telling her story from the beginning to the tragic end. It will place her life within the wider context of the Holocaust itself, and also explore her afterlife: seeking to explain why her Diary still speaks to us today.
    LanguageEnglish
    PublisherThe History Press
    Release dateNov 2, 2015
    ISBN9780750963701
    Anne Frank: pocket GIANTS
    Author

    Zoe Waxman

    Zoe Waxman is a senior research fellow at the Oxford Centre for Hebrew and Jewish Studies. She was educated at the universities of York, Warwick, and Oxford and was previously lecturer in history at Mansfield College, Oxford and then lecturer and fellow in Holocaust Studies at Royal Holloway, University of London. She has published widely on gender, genocide, and the history of ideas. Her first book was Writing the Holocaust: identity, testimony, representation (OUP, 2006). Her next book, A Feminist History of the Holocaust is under contract with OUP.

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      Book preview

      Anne Frank - Zoe Waxman

      Contents

      Title

      Preface

      Introduction: The Girl Behind the Diary

      1  The Frank Family

      2  In Hiding

      3  Capture

      4  The Diary

      5  Celebrity

      Timeline

      Further Reading

      Web Links

      Copyright

      Preface

      The Diary of Anne Frank is one of the most famous – and best-selling – books of all time. Yet the girl who wrote it remains an enigma. The real Anne Frank has been hidden again, lost behind the phenomenon of her posthumously published diary.

      This concise biography rediscovers Anne. It tells her story from its beginning to its untimely end. It places her life within the wider context of the Holocaust and also explores her afterlife – seeking to explain why, over seventy years after the events it chronicles, Anne Frank’s diary still speaks to us today.

      Introduction

      The Girl Behind the Diary

      ‘I can shake off everything if I write; my sorrows disappear, my courage is reborn.’

      Wednesday, 5 April 1944¹

      In honour of the eightieth birthday of Anne Frank, the British Anne Frank Trust – an organisation which attempts to tackle bigotry and prejudice in contemporary Britain – commissioned a pictorial representation of what she might have looked like aged 80. The image shows a rather beautiful woman, displaying the type of gentle wisdom and grace we like to think comes with age and experience. The trouble with the image, which deploys the techniques that are used to artificially age people who have gone missing, is that it bears little relation to what we actually know of the short, sad life of a girl who died of typhus and starvation at just 15 years old in Bergen–Belsen. We cannot know whether or not Anne Frank would have fulfilled her early potential as a talented author or journalist, or how her character might have developed. Her surviving stepsister, Eva Schloss, whom she hardly knew, spoke of her surprise at the image, observing, ‘I think she would have been more bitter and disappointed. I didn’t see anything of this in the picture.’² This photograph and the comment it provoked are indicative of the type of polarised thinking which seems to characterise responses to the life of Anne Frank. Either she is portrayed as heroic and as an example of the triumph of the human spirit, or she is mourned as a tragic victim or icon of suffering.

      Anne Frank’s fame rests on her diary. She used it – a red and white chequered notebook which she chose herself as a present for her thirteenth birthday – as a confidante. She named it Kitty and it truly did become her best friend. On the first page of the diary, Anne wrote: ‘I hope I will be able to confide everything to you, as I have never been able to confide in anyone, and I hope that you will be a great source of comfort and support’ (Friday 12 June 1942). She wrote approximately twice a week and dated and signed each entry either ‘Anne Frank’ or ‘Anne’.

      The diary, originally written in Dutch and published in 1947 in Holland as Het Achterhuis: Dagboekbrieven 12 Juni 1942–1 Augustus 1944 (The Secret Annexe: Diary-Letters 12 June 1942–1 August 1944³), sold only 1,500 copies at the time of publication; but it has since become something of a phenomenon. It has been translated into over sixty languages, from Albanian to Welsh, including Farsi, Arabic, Sinhalese and Esperanto, and has become part of school curricula across the globe. It was added to the UNESCO Memory of the World Register in 2009.⁴ Anne Frank’s House is the most visited site in the Netherlands and a place where every foreign dignitary is taken. The photographs of her – all taken before she went into hiding – have become iconic; she has in a sense become the ‘face’ of the Holocaust.⁵ She now even has her own, unofficial, Facebook page.

      Frank herself chose the title for the book, which she planned to publish after the war, remarking, ‘The title alone would be enough to make people think it was a detective story’ (Wednesday 29 March 1944). The original publication title, however, was changed in the 1950 English language edition to Anne Frank: The Diary of a Young Girl.⁶ It was marketed as the work of an intelligent young girl whose life was tragically cut short. She was just 13 when she began her diary on 14 June 1942, and 15 when she died, becoming one of the at least 1.5 million Jewish children murdered during the Holocaust. Readers of all nationalities and ages felt drawn to Anne and her vivid descriptions of life within the confines of her hiding place. A play, The Diary of Anne Frank, written by the Hollywood husband-and-wife team Frances Goodrich and Albert Hackett, premiered on Broadway in 1955 with Marilyn Monroe in the audience, and won the Pulitzer Prize for Drama, the Tony Award for Best Play, and the New York Drama Critics’ Circle Award. It was exported all over the world and quickly gave rise to many film versions. In 1996 a feature-length documentary, Anne Frank: A Life Remembered, won an Academy Award for best documentary feature. The film contains a very brief sighting of Anne herself leaning out of an apartment window.

      Many people had grown up identifying with Anne Frank to such an extent that they felt uncomfortable with the publication of De Dagboeken van Anne Frank, an almost unedited version of the diary produced in 1986 by the Netherlands State Institute for War Documentation. A 700-page English translation, The Diary of Anne Frank: The Critical Edition, appeared in 1989, reprinting nearly all the different versions of the diary and omitting only the five pages that Anne’s father, Otto Frank, deemed unsuitable for publication.⁷ It was then translated into German, French and Japanese, and a revised edition was published in Dutch and English in 2003. Willy Lindwer’s 1988 international Emmy Award-winning documentary, The Last Seven Months of Anne Frank, turned attention to Anne’s life after her capture. As Anne’s testimony stops before her arrest, Lindwer’s film is forced to rely on the memories of the Dutch women who knew Anne and her sister Margot in their final months.

      Anne Frank’s appeal seems in little danger of dissipating. One biographer, Melissa Müller, actually calls herself an ‘Anne Frank fan’. As a child

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